The Forsytes Series-Premiere Recap: Marry, Bang, Financially Ruin

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Okay, let’s be real. Forget everything you expect from a lavish, modern period piece. This isn’t a 2026 blockbuster; it’s a 1997 PBS miniseries, complete with the inevitable pledge drive interruptions. Watching The Forsytes feels like the director binge-watched a bunch of ’90s BBC dramas and thought, “Let’s do that!”—complete with questionable choices, like refusing to change the leading man’s haircut despite the Victorian setting and overdoing the dramatic music. They even threw in a strange smoothing filter on everything. I went in expecting PBS’s The Gilded Age, but once I embraced its true identity – a deliciously over-the-top ’90s soap opera – I was hooked. Honestly, this is exactly what I want from a period drama. Give me constant melodrama! A villain falling for a ballerina whose family he destroyed? Sign me up! If All Creatures Great and Small is our comfort food, The Forsytes is pure, glorious escapism. It’s the period drama equivalent of a Slurpee from 7-Eleven. Is it high art? Absolutely not. Is it incredibly enjoyable? One hundred percent yes.

In 1880s London, the Forsytes are a wealthy and influential family who’ve gained social status through advantageous marriages. The peak of their success is the marriage of Jolyon Forsyte to the popular and well-connected Frances. However, this newfound status will be challenged as nearly every member of the family creates drama and threatens to ruin the Forsyte reputation.

Ten years after marrying Frances, Jolyon works at the same brokerage firm as his unpleasant cousin, Soames, and for his father. Jolyon has a perfectly groomed appearance – think a classic shaving ad – which is fine, honestly. Frances has a daughter, June, from a previous relationship. While June isn’t a major character herself, her decisions and moods at 18 years old influence the relationships and actions of those around her.

The cast also features Irene Heron as an aspiring ballerina, Louisa the dressmaker (played by Demelza from Poldark), Soames’s father (Jack Davenport, known from Coupling and Pirates of the Caribbean – he’s also married to Michelle Gomez), and Jolyon’s aunt Ann, who sounds like Angela Lansbury in Anastasia.

Frances is determined to marry off June and is throwing a debutante ball to find her a husband. June, however, wants to escape and pursue her dream of becoming an artist. During a fitting with the dressmaker, Louisa, June makes awkward comments about Louisa’s simple lifestyle. Meanwhile, Louisa is clearly smitten with Frances, leading to speculation that she might have had a past relationship with Jolyon. Adding to the drama, Louisa is sporting long, loose hair – a bold look for the period, making one wonder if the actress Eleanor Tomlinson has a clause in her contract requiring this hairstyle. Louisa is a mother of two, and the identity of their father is a key part of the unfolding story. This series isn’t necessarily aiming for shock value, but it’s definitely taking some big risks with its plot, and this reveal is one of them!

You might be wondering why I haven’t talked much about Soames. He’s a bit like the trickster god Loki, except his father constantly criticizes Thor! Anyway, Soames is the character who insists he’ll never get married, and he’s obsessed with money and success. But then he sees a red-haired ballerina, and everything changes. He’s also causing trouble at work, secretly ruining a mining company by selling all his stock, which really angers Jolyon. Soames thinks Jolyon is too soft, and honestly, he probably is – he spends his time drawing instead of providing for his family. Jolyon needs to get his priorities straight and maybe cause a little trouble himself!

Did anyone else pick up on the strange chemistry between Frances and Bill on True Blood? I kept wondering if something romantic was going to develop between them. Honestly, I wasn’t sure I’d want to see that happen, but I do enjoy seeing villains connect. Though, let’s be real, getting involved with your father-in-law should definitely lead to complicated emotions!

Okay, so I was watching this movie, and this guy, Soames, spots this ballerina, Irene, in the park and is instantly smitten. Then, things get weird. Her professor dad has a health scare, and Soames conveniently steps in to help. Immediately, I’m thinking, ‘Does Irene even have a choice here?’ Probably not, honestly. I quickly found myself rooting for Soames to become a better person. Sadly, Irene’s dad passes away, and Soames shows up at the funeral – super awkward. Her stepmother starts flirting with him, and then asks him to manage their finances. Turns out, his money was tied up in the very mining company that ruined them! That offhand comment about bankrupting widows? Total foreshadowing! So, Soames basically destroyed Irene’s family and her dreams of studying ballet in Paris. I’m not sure if he’s secretly pleased about it, but now Irene is pretty much stuck with him. Seriously, Soames, get it together and start redeeming yourself!

Jolyon is deliberately silly and boxes without a shirt because the show doesn’t need to be taken too seriously. He’s just being himself – he’s not an artist or someone who worries about appearances. He’s even mirroring Stefan’s aloof energy. Later, his father and Frances scheme to get him to take initiative, hatching a dramatic plan for the upcoming ball. The show would be much more entertaining with more scheming and drama like this, and less focus on business dealings!

On the night of the ball, June, true to her nature, rushes to greet Frances, accidentally knocking over Frances’s wine and staining June’s dress. They call for Louisa the dressmaker, who reluctantly comes to fix it. Once the ball is underway, Louisa tries to leave, but June introduces her to Jolyon, and they share a captivating conversation. It’s full of longing and regret, with lines like “After I left Venice, you promised to write,” and “Nothing could have come of it; I was a lady’s maid, you were the heir to a dynasty.” This is exactly the kind of drama I was hoping for – watching wealthy characters navigate forbidden love and past regrets. The show is delivering on the classic Gilded Age trope of societal barriers to romance, and honestly, I’m frustrated that the creator isn’t giving us more of it!

Frances notices Jolyon reaching for Louisa’s hand and instantly understands what’s happening. This is particularly frustrating for her because her husband, Bill, has just announced his retirement and is leaving the firm in Jolyon’s hands. Now, not only will Jolyon be in charge, but Frances also has to deal with him flirting with the dressmaker. She feels she endures a lot. That night, she reminds him of his youthful adventures in Europe, saying everyone is entitled to a little recklessness before settling down. (I may not be supposed to sympathize with Frances, but I can’t help it.)

Okay, so Frances just pops into Louisa’s shop and starts casually grilling her about where she’s traveled – Ireland, and possibly Italy, she emphasizes. Then, total chaos! Louisa’s kids run in, and the little boy introduces himself as Jos, but it’s actually Jolyon. Seriously, kid, just pick a name! But honestly, the best part of this scene is Frances’s expression. It’s pure soap opera gold! I practically grew up on Days of Our Lives, so I’m a tough critic, but The Forsytes is definitely giving me those same dramatic vibes, and I’m here for it.

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2026-03-23 05:58